28 November Millefleur (2025) will receive its UK premiere at the Huddersfield Festival, performed by the Ensemble for New Music Tallinn conducted by Arash Yazdani. Commissioned by LRT – Lithuanian National Radio, the work was premiered by ENMT in Vilnius during Baltic Music Days – Muzikos Ruduo. The ensemble subsequently performed it at Naxos Hall in Frankfurt. The recording of Millefleur (2025) represented Lithuania at the International Rostrum of Composers radio competition in Riga.

4 October Justina Repečkaitė’s string quartet Almageste I (2026) will be performed by Quatuor Adastra at the Musica Festival in Strasbourg. The quartet premiered the work this summer at Festival d’Autan in Occitanie, where Repečkaitė is composer-in-residence in 2026.

On 26 September, Linos Trio will perform the third and final part of Justina Repečkaitė’s Echo Chamber (2024–2026) at the Linos Festival in Cologne. The first two parts were performed by the trio at the same festival in 2024, in a concert that also featured Quatuor Zaïde performing Repečkaitė’s Unbenannt-2 (2016).

13 September Justina Repečkaitė’s new composition Digitalis (2026) for solo clarinet will be performed by Anaïs Dufresnoy at Théâtre L’Echangeur, Bagnolet during the Festival Ensemble(s) en prélude of the concert Mors Osculi. Written as part of an educational project for Szymon Kaca’s student at the Conservatoire d’Ivry, the piece was commissioned by Ensemble 2e2m.

That permeability between voice and instrument runs throughout the album. Singing performers, hybrid timbres and discreet electronics continually broaden the acoustic field. The closing “La muë” brings many of these ideas together. Drawing on an eighteenth-century treatise on the changing adolescent voice, the work combines children’s choir, electronics and the extraordinary sound of the serpent, played and sung simultaneously by Patrick Wibart.

Listening to Tapestries, one gradually realises that Repečkaitė is not interested in translating images into music. She is interested in translating systems of thought. Architecture becomes form, birdsong becomes resonance, botanical knowledge becomes gesture, and the changing human voice becomes an evolving sonic landscape.

Gianmarco Del Re, A Closer Listen

Read a German review of Tapestries in Part X of series “Pearls of the Baltic Sea.” Til Rohgalf explores the debut album by Lithuanian composer Justina Repečkaitė in “Timbres between Electroacoustics and Mannerism,” published by Kulturkompass.

Read review Justina Repečkaitė: Tapestries by Vito Camarretta, published on Chain D.L.K. on 5 August 2026. There are composers who write music as if they were building monuments, and others who compose as if they were patiently weaving threads. Lithuanian composer Justina Repeckaite undoubtedly belongs to the latter category. Her debut portrait album, "Tapestries", gathers works spanning more than a decade, from 2012 to 2024, but this is far more than a retrospective. It feels like wandering through a carefully curated exhibition where each room reveals another facet of an artistic language shaped equally by architecture, medieval symbolism, acoustics, and an unusually tactile understanding of sound.

On his blog, 5against4, composer, writer, and researcher Simon Cummings devoted an article to Justina Repečkaitė’s album Tapestries (2026):

Tension, climax, release. That’s not simply familiar but one of the most fundamental progressions we encounter in all forms of art. So it’s been fascinating to hear how Lithuanian composer Justina Repečkaitė sidesteps and reconfigures this most basic dramatic contour repeatedly on the first album devoted to her music, Tapestries. That’s not the point of her music, i hasten to add, and in fact Repečkaitė goes to great lengths to articulate the conceptual thinking behind each of the eight works included here. Yet those backstories, while important (and interesting), nonetheless also come to feel like so many starting points, moments of ignition leading to music that travels far beyond their inspirational origins, occupying sustained, demonstrably heightened states.

Tapestries appears on the article The Best Contemporary Classical Music on Bandcamp, May 2026 by Peter Margasak : “Lithuanian composer Justina Repečkaitė presents a remarkable survey of the first decade of her work as a composer, each of its eight works offering dizzyingly varied sides of her music. <…>”

Concert de la classe de direction d’orchestre du Conservatoire de Lille

CRR de Lille - Conducting Class
Monday, 8 June 2026, 7:00 PM
Auditorium of the Conservatoire de Lille

Justina Repečkaitė’s Tapisserie will be conducted by the students.

As part of a special evening at the Conservatoire de Lille, conducting students lead an orchestra of professional musicians in a richly contrasted programme. The concert brings together two major orchestral works alongside contemporary pieces by Claire-Mélanie Sinnhuber and Justina Repečkaitė.

The Estonian cultural weekly Sirp published Sander Saarmetson’s review “Heli naha all ” (“Sound Under the Skin”) of Ensemble U:’s concert, which featured my IRCAM Cursus piece Transduced (2020) for percussion and electronics, performed by Vambola Krigul. Translation from Estonian:

Justina Repečkaitė’s Millefleur represents Lithuania at the International Rostrum of Composers, held in Riga from 12–15 May 2026. The work was commissioned by Lithuanian National Radio and Television for the Baltic Music Days 2025 - Music Autumn (Muzikos Ruduo) . Millefleur was premiered by the Siemens Ensemble Prize 2025 winner Ensemble for New Music Tallinn, conducted by Arash Yazdani.

Repečkaitė’s music already represented Lithuania at International Rostrum of Composers, with Chartres (2012) for string orchestra and with Tapisserie (2015) for ensemble.

On 12 May 2026, percussion player Vambola Krigul will performTransducedat the Estonian Centre of Contemporary Music, as part of the concert Puutetundlikkus / puute tundlikkus.

Uued tuuled (New Winds)
Ensemble U:
Date: 12.05.2026, 19:00
Venue: ECCM Hall
Email: u@uuu.ee
Website: https://uuu.ee/j/kontserdid2

The concert offers a selection of music by younger-generation composers well known in Europe but less frequently performed in Estonia.

Programme:

Johannes Maria Staud (1974) – “Lagrein” (2008) for clarinet, violin, cello and piano
Brigitta Muntendorf (1982) – “Shivers on Speed” (2013) for flute, clarinet, piano, violin and cello
Justina Repečkaitė (1989) – “Transduced” (2020) for percussion and live electronics
Kitty Xiao (1989) – “in flesh” (2021) for cello and electronics

Tickets (5/10/15 euros) available via Fienta and on site

On 16 March 2026, Justina Repečkaitė will give a composition masterclass at the Conservatoire of Boulogne-Billancourt, near Paris, for Jean-Luc Hervé’s composition class. More information here.

Saturday, March 14, 2026 at the So Percussion Studio
20 Grand Ave - Brooklyn, NY 11205
exact time tbd

Recah Pecahan - Dewa Alit
Made in Canada - Erin Rogers
Pulsating skin - Justina Repečkaitė
***Popebama set tba***

Talujon percussion group first performed Pulsating Skin (2021) for 4 snare drums and electronics back in 2024. Described by the New York Times as possessing an "edgy, unflagging energy," Talujon is dedicated to advancing contemporary percussion music through a variety of performances, commissions, educational programs, and outreach activities. The ensemble consists of percussionists Ian Antonio, Caitlin Cawley, David Cossin, Matthew Gold, Tom Kolor, Michael Lipsey, and Matt Ward.

Pulsating Skin (2021) premiered at the Darmstadt Summer Course in 2021 and has since been performed in Basel (CH), Shanghai (CN), Feldafing (DE), Paris (FR), Cracow-Warszawa (PL) and NY (USA).

Review of Concertina-fold almanach on Diapason by Pierre Rigaudière on article Georges Aperghis, héros du festival Présences 2026.

Commissioned by Radio France, Justina Repečkaitė’s Concertina-fold almanach, was premiered by accordionist Vincent Lhermet on the 7th of February 2026 during the concert Tingel Tangel at Studio 104, Maison de la Radio.

The concert will be broadcast on France Musique on March 11 at 8:00 p.m.

Justina Repečkaitė’s composition La muë (2024) co-comissioned by IRCAM tand the Centre de musique baroque de Versailles for serpent, children’s choir, and electronics — will be broadcast on France Musique on Wednesday, February 11, 2026, at 21:35 in the program Le Concert du soir (host Arnaud Merlin), within the section Nouveautés du disque. Listen here. La muë starts at 01:36:20.

Performers: serpent player Patrick Wibart, Les Pages of CMBV conducted by Clement Buonomo and the Ircam team. Recorded during the premiere 27 April, 2024 at Salle Espro, IRCAM.

La Muë (2024) features in Repečkaitė’s album Tapestries (2026) that will be released by the Music Information Centre Lithuania this Spring.